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...dozen and spend hours on the telephone calling anyone at anytime just to talk. In his elliptically eccentric little film, director Francois Girard composes a series of thirty-two short compositions that capture the intense peculiarities of the pianist's insanely tortured and brilliant life. The director's minimalist documentary style, while ostensibly unassuming, is as intense as the Gouldian world it unfolds for us on the screen. The film's fragments wrap us up and then just as quickly unwind--the detached psychological probing is as disorienting as it is seductive. Pain, passion and the just plain weird...

Author: By Tristan Walliser, | Title: Gouldberg Variations | 11/17/1994 | See Source »

...triumph for someone who, just two decades ago, viewed composition from the other side of the musical fence. As a critic for the New Statesman and the Spectator, Nyman was a trenchant observer of the avant-garde (in 1968 he coined the term minimal music to describe the emerging Minimalist movement) and in 1974 brilliantly surveyed the field in his book...

Author: /time Magazine | Title: MUSIC: Minimalist to the Max | 11/14/1994 | See Source »

...early-music specialist and harpsichordist Thurston Dart -- concluded that an even better way to affect the fortunes of contemporary music was to write it himself. In 1976 he composed incidental music for a play by Italian librettist Carlo Goldoni at Britain's National Theatre. He quickly found his own Minimalist style in In Re Don Giovanni (1976), and when Greenaway came calling for the first of their 10 films together, One to One Hundred, Nyman found his true pitch...

Author: /time Magazine | Title: MUSIC: Minimalist to the Max | 11/14/1994 | See Source »

Sander, who lives in a Hamburg mansion filled with minimalist art, describes her design philosophy as "less and luxe." She favors spare lines and expensive fabrics; she eschews loud colors and elaborate prints; she loathes accessories. She grew up in a modest Hamburg suburb and has said her taste developed in reaction to the kitsch and consumerism that dominated postwar Germany. "Ever since I was young, I would look at a woman and think she could look much classier, much more powerful, sophisticated and elegant," she says. "That's what always counted for me, not that obviousness that...

Author: /time Magazine | Title: FASHION: Lessons in Lessness | 11/7/1994 | See Source »

...contempt for the overt has led observers to compare her to that other purveyor of modern simplicity, Giorgio Armani -- an analogy Sander rejects. "I'm happy he exists," she says, "because he brought a minimalist vision of fashion compared with, say, Chanel or Versace. But I feel far away from him; these are two different concepts." In fact, Sander's style is even more spartan than Armani's, her palette even narrower; her detractors would argue that her look is far more severe and somber. "She is one of those designers other designers laugh at," says Joan Weinstein...

Author: /time Magazine | Title: FASHION: Lessons in Lessness | 11/7/1994 | See Source »

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